Metal Decorative Objects

Italian 1970s Small Oval Nickel Bamboo Picture Frame

1950s Modern Electric Fan by General Electric in fantastic conditions, working at perfection.

Vintage Murano Glass Bowl / Vide-Poche with Copper Aventurine. UPDATE: Due to agreement with 1stDibs, we'll be staying through the end of the year. Good vintage condition. We found n...

Stunning Art Deco Fox-Head door stop. Design by Peerage. Striking English design from the 1920s. Solid brass and solid iron. With impressed makers stamp. In very good condition ...

Heading : Erhard and Sohne Art Nouveau jewellery casket c1900 Period : Turn of the century Origin : Germany Decoration : Brass inlaid rosewood with various stylised designs remini...

A pair of vintage monumental candelabra from Georg Jensen, model #751, designed by Harald Nielsen in 1935. These exquisite pieces feature an oversized disk-shaped raised base with a ...

It is rare to find a pair of these candlesticks in a winning combination of classically styled silver plate paired with glass columns, here we have a set of four! Just back from o...

Vintage solid brass unicorn sculpture circa, 1970s. The piece is in good vintage condition with a great patina and measures 3"W x 5.5"D x 7.5"H. Super co...

A wonderful example of a hollow-cast bronze octopus. This piece features wonderful detail and resemblance to a real specimen. An exotic piece certain to...

A Pair of Artistically created birds for table decor, silver-plated peacocks - ideal for a coffee table or bookends. These figures are Classic Hollywood Regency! They are each unique...

Noguchi's first mass-produced design, completed circa 1932, predating his design for the "Radio Nurse" baby monitor by about five years. Produced...

Pair of table decorations, of metal, having a distressed finish, each fashioned as a leafy pineapple, set upon a classical fluted urn, on round foot and square plinth. Can be made in...

6" Tall Nude Flapper girl standing tall with her legs slightly apart, exuding confidence and poise. Her bob style is pulled back, emphasizing the smooth lines of her neck and face. H...

Art Deco sculpture depicting a stalking panther, France, circa 1930 Green patinated spelter panther on a rectangular, profiled pedestal of white veined, black, and red marble. Dimen...

Late 20th century Salem Ships Bell desk / table clock. Brass case in the shape of a porthole surrounded by a ship's wheel / helm, set on a rectangular wood base. Champagne gilt face ...

Wonderful Pair of Art Deco Candle Holders in Wrought Iron and Stone, Europe, 1930s. Hands down the best pair of candle holders we've ever encountered. They feature a very elegant ar...

A rare and very fine bronze corpus of Christ after a model by Michelangelo, cast ca. 1597-1600 by Juan Bautista Franconio and painted in 1600 by Francisco Pacheco in Seville, Spain. The present corpus reproduces a model attributed to Michelangelo. The best known example, lesser in quality, is one on display at the Metropolitan Museum of Art (MET). The association of this corpus with Michelangelo was first brought to light by Manuel Gomez-Moreno (1930-33) who studied the wider circulated casts identified throughout Spain. The attribution to Michelangelo was subsequently followed by John Goldsmith-Phillips (1937) of the MET and again by Michelangelo expert, Charles de Tolnay (1960). While Michelangelo is best known for his monumental works, there are four documented crucifixes he made. The best known example is the large-scale wooden crucifix for the Church of Santa Maria del Santo Spirito in Florence, made in 1492 as a gift for the Prior, Giovanni di Lap Bicchiellini, for allowing him to study the anatomy of corpses at the hospital there. In 1562, Michelangelo wrote two letters to his nephew, Lionardo, indicating his intention to carve a wooden crucifix for him. In 1563 a letter between Lionardo and the Italian sculptor Tiberio Calcagni, mentions this same crucifix (a sketch of a corpus on the verso of a sheet depicting Michelangelo’s designs for St. Peter’s Basillica [Palais des Beaux-Arts in Lille] may reproduce this). That Michelangelo was working on small corpora in the last years of his life is further evidenced by the small (26.5 cm) unfinished wooden crucifix located at the Casa Buonarroti, considered his last known sculptural undertaking. Michelangelo’s contemporary biographer, Giorgio Vasari additionally cites that Michelangelo, in his later years, made a small crucifix for his friend, Menighella, as a gift. Surviving sketches also indicate Michelangelo’s study of this subject throughout his career, most notably during the end of his life but also during the 1530s-40s as he deepened his spiritual roots. The occasional cameo of crucified Christ’s throughout his sketched oeuvre have made it challenging for scholars to link such sketches to any documented commissions of importance. All the while, in consideration that such objects were made as gifts, it is unlikely they should be linked with commissions. Nonetheless, a number of theories concerning Michelangelo’s sketches of Christ crucified have been proposed and some may regard the origin of the present sculpture. It has been suggested that the corpus could have its impetus with Michelangelo’s work on the Medici Chapel, whose exclusive design was given to the master. It is sensible smaller details, like an altar cross, could have fallen under his responsibility (see for example British Museum, Inv. 1859,0625.552). Others have noted the possibility of an unrealized large marble Crucifixion group which never came to fruition but whose marble blocks had been measured according to a sheet at the Casa Buonarroti. A unique suggestion is that Michelangelo could have made the crucifix for Vittoria Colonna, of whom he was exceedingly fond and with whom he exchanged gifts along with mutual spiritual proclivities. In particular, Vittoria had an interest in the life of St. Bridget, whose vision of Christ closely resembles our sculpture, most notably with Christ’s proper-left leg and foot crossed over his right, an iconography that is incredibly scarce for crucifixes. The suggestion could add sense to Benedetto Varchi’s comment that Michelangelo made a sculpted “nude Christ…he gave to the most divine Marchesa of Pescara (Vittoria Colonna).” Of that same period, two sketches can be visually linked to our sculpture. Tolnay relates it to a sketch of a Crucified Christ at the Teylers Museum (Inv. A034) of which Paul Joannides comments on its quality as suggestive of preparations for a sculptural work. Joannides also calls attention to a related drawing attributed to Raffaello da Montelupo copying what is believed to be a lost sketch by Michelangelo. Its relationship with our sculpture is apparent. Montelupo, a pupil of Michelangelo’s, returned to Rome to serve him in 1541, assisting with the continued work on the tomb of Pope Julius II, suggesting again an origin for the corpus ca. 1540. The earliest firm date that can be given to the present corpus is 1574 where it appears as a rather crudely conceived Crucifixion panel, flanked by two mourners in low-relief and integrally cast for use as the bronze tabernacle door to a ciborium now located at the Church of San Lorenzo in Padula. Etched in wax residue on the back of the door is the date, 27 January 1574, indicating the corpus would have at least been available as a model by late 1573. The Padula tabernacle was completed by Michelangelo’s assistant, Jacopo del Duca and likely has its origins with Michelangelo’s uncompleted tabernacle for the Basilica of St. Mary of the Angels in Rome. The impetus for the Padula tabernacle’s Crucifixion panel begins with a series of late Crucifixion sketches by Michelangelo, depicting a scene of Christ crucified and flanked by two mourners (see British Museum Inv. 1895.0915.510; Ashmolean Museum Inv. 1846.89, KP II 343 recto; Windsor Castle RCIN 912761 recto; and Louvre Inv. 700). A faintly traced block possibly intended for sculpting the sketch of the crucified Christ on its recto was discovered by Tolnay on a version of the composition at Windsor Castle. The Windsor sketch and those related to it appear to have served as preparatory designs for what was probably intended to become the Basilica of St. Mary’s tabernacle door. Vasari documents that the project was to be designed by Michelangelo and cast by his assistant, Jacopo del Duca. Michelangelo died before the commission was complete, though on 15 March 1565, Jacopo writes to Michelangelo’s nephew stating, “I have started making the bronze tabernacle, depending on the model of his that was in Rome, already almost half complete.” Various circumstances interrupted the completion of the tabernacle, though its concept is later revitalized by Jacopo during preparations to sell a tabernacle, after Michelangelo’s designs, to Spain for Madrid’s El Escorial almost a decade later. The El Escorial tabernacle likewise encountered problems and was aborted but Jacopo successfully sold it shortly thereafter to the Carthusians of Padula. An etched date, 30 May 1572, along the base of the Padula tabernacle indicates its framework was already cast by then. A 1573 summary of the tabernacle also describes the original format for the door and relief panels, intended to be square in dimension. However, a last minute decision to heighten them was abruptly made during Jacopo’s negotiations to sell the tabernacle to King Phillip II of Spain. Shortly thereafter the commission was aborted. Philippe Malgouyres notes that the Padula tabernacle’s final state is a mixed product of the original design intended for Spain’s El Escorial, recycling various parts that had already been cast and adding new quickly finished elements for its sale to Padula, explaining its unusually discordant quality, particularly as concerns the crudeness of the door and relief panels which were clearly made later (by January 1574). Apart from his own admission in letters to Spain, it is apparent, however, that Jacopo relied upon his deceased master’s designs while hastily realizing the Padula panels. If Michelangelo had already earlier conceived a crucifix model, and Jacopo had access to that model, its logical he could have hastily employed it for incorporation on the door panel to the tabernacle. It is worth noting some modifications he made to the model, extending Christ’s arms further up in order to fit them into the scale of the panel and further lowering his chin to his chest in order to instill physiognomic congruence. A crude panel of the Deposition also follows after Michelangelo’s late sketches and is likewise known by examples thought to be modifications by Jacopo based upon Michelangelo’s initial sculptural conception (see Malgouyres: La Deposition du Christ de Jacopo del Duca, chef-d’oeuvre posthume de Michel-Ange). Jacopo’s appropriation of an original model by Michelangelo for more than one relief on the Padula tabernacle adds further indication that the crucifix was not an object unique to Jacopo’s hand, as few scholars have posited, but rather belongs to Michelangelo’s original...

A very tall and elegant pair of bronze and blown green glass by the most respected maker of lamps and accessories of his time, Tiffany Studios. Properly signed on the underside of t...

Franz Bergman - Vienna Egyptian Bronze Female Nude in Sarcophagus Erotic Ca1900 A patinated and gilt bronze metamorphic figure of a 'Nuremberg Iron Ma...

1993 wrecking ball installation Art Gallery sphere sculpture by Carter Kustera Carter was born in Canada in 1962. In the early 1990s, Carter began ...

Bring a sense of majesty into your living space with this magnificent Moroccan white bone chest handcrafted from beach wood and inlaid with additional red stones. Boasting a sumptuou...

ABOUT An antique Machinist's tool chest with round brass pulls, original label, two keys, seven graduated drawers with Mahogany fronts, metal corner...

Antique Persian Islamic Brass Jewelry Footed Box in Mamluk Revival Damascene style. A Middle Eastern Moorish Damascene Brass Box circa 1910-1920s. A fine antique handcrafted etched hammered Syrian Damascene brass jewelry box. Octagonal shape lidded antique Moorish Persian footed trinket brass box, handcrafted and chased with calligraphy Islamic Arabic design writing. The Box decorated with etched Arabic inscription and lotus flowers with a very fine Arabesque design. Middle Eastern jewelry brass box with eight small feet, hinged lid, lined in a Moroccan red velvet. Great Moorish Mamluke Revival brass decorative Islamic metal art object. Dimensions 6.75" W × 5" D × 5.25" H. In the Mamluk Style (Mamluk Revival). Origin: Middle East. Date: Circa 1900-1920s. Hand-hammered and engraved, this beautifully incised brass box Islamic...

Good size and impressive make, Gothic church altar crucifix. This ornate and all hand-crafted, bronze table crucifix comes with a good quality made a...

'High Kick' an Art Deco bronze figure of a dancing lady. Excellent deep rich patination.

Beautiful vintage Murano hand blown olive green over white and gold flecks Italian art glass apple shaped bowl. Documented to Master glass artist and designer Alfredo Barbini, circa ...

Antonine de Saint Pierre, signed. Sculpture entitled “Jouve”, in black lacquered metal. French work by a contemporary artist. Dimensions: H...

A lovely mid-century Bavarian porcelain ginger jar with gold trim and gilt details by Hertel-Jacob Porzellan (German, 1906-1979). This large ginger jar is ornately decorated with a highly detailed romantic figurative landscape scene, in which three men depicted in gold enjoy an opulent picnic of wine, meat, and fruit under a tree, in front of a large medieval castle complete with a canon and canon balls. A gold leaf motif decorates the backside of the piece. The signature "Fuchs-Nadler" can be found within the picnic scene, underneath the tray of food and wine. Stamped on bottom with mark "Hertel-Jacob Porzelan / Bavaria Germany", and the serial number 1266. Measures 14"H x 7"D. **Please note: The top of the lid has been re-attached and a hairline crack in the gold is visible (see photos). Hertel-Jacob Porzelan History: Porzellfabrik Jacob, Schödl & Co. (1906 until 1912) The factory was founded in 1906 by the industrial Jacob together with his financial partner Schödl and its product range during the first years included giftware items, vases, storage canisters...

Beautiful Eye Clock designed by George Nelson & Associates, and manufactured by Vitra. In excellent working condition, working on an AA battery.  The George Nelson Eye Clock...

A Beautiful & Luxurious Handcrafted Victorian Bramah Hardwood Fold-out Travelling Writing Companion With Fitted Leather Interior, Ceramic Blotting Tablets. Complete with Beautifully ...

1960s Patinated bronze vase by Carl Sorensen.

Design inspired on an artwork by Salvador Dali´: Interpretation project for a stable-library, 1942 Stuffed lamb, elaborated with a technique by a taxidermist. Drawer and table top i...

Amazing set of 4 1980's brutalist style gilt bronze candlesticks designed by Georges Mathias for Fondica, in vintage original condition with some wear and patina due to age and use, ...

Large Japanese Meiji period cloisonné enamel vase with a stand Japanese, Late 19th Century Vase: Height 155cm, diameter 70cm Base: Height 45cm, width 51cm, depth 51cm Total: Height 2...

Set of Hand Mirror and Brush in bronze made by Just Andersen in the 1920s. A rare set of collectibles for a beautiful place. * Hand mirror and brush in Bronze * Designer: Just Ander...

Pair of George III old Sheffield plate three light candelabra in the Adams taste. The six sided looped arms support fluted tulip form candle cups which center on a single candle cup ...

Striking and detailed bronze relief sculpture from Benin, now known as Nigeria, in Africa. This piece was modeled after ancient Benin bronzes, but is from the 20th Century. The intri...

The now iconic bronze swan neck vase from the Rick Owens bronze relic collection. This is shown in the nitrate patina. Originally designed in 2012. Each ...

Channelling the raw and rebellious energy of New York’s post-punk scene, the Debbie collection pays tribute to the legendary Blondie frontwoman with a mix of rock-and-roll audacity a...

Vintage Neoclassical or Empire style tall brass urn / cassolette / amphora vase with scrolled handles and a repousse band showing a vine of roses and small blossoms winding around bu...

Stunning 1970s Lucite chrome ashtray and lighter desk set. Lighter measurements: Width 3.75", depth 2.5, height 4.25".

This pair of vintage hoof candle holders have been manufactured in the Tramuntana Mountains of Mallorca Spain and feature two goat hoofes mounted upon iron shields and iron candle ho...

Beautifully cast and very compelling 19th century Grand Tour bronze oil lamp in the ancient Roman style with dolphin handles. The dolphin sh...

A Bronze Koi Fish. The beautiful fish can be used as a decorative piece, a vase, and if you're really ambitious, could make a lovely fountain. A compliment to any space - living ro...

This globe vase is a round, capacious piece produced using the Raku technique, resulting in a beautiful unpredictable finish. This vase would be the perfect centerpiece or an additio...

A gold, antique French table clock, pendulum made of hand crafted fire-gilded bronze, in good condition. The circular enamel dial of the Pa...

Travel alarm clock "JMS", germany around 1950s Original condition Brass with red faux leather cover Still working Measures: Open height 8cm, wide 7,5cm, deep 8cm Closed height 3cm, ...

A gorgeous glass top trinket box made of ormolu and metal. The hinged top featuring a view of the castle of Nuremberg in Germany. No restoration has been carried out on this charming...

This exquisite 19th-century French bronze sculpture captures the essence of rural life through the figure of a young peasant boy. The boy is depicted with a charming, rustic appeal,...

Durga is a warrior goddess in the Hindu culture, she is the protector of the good depicted here multi-armed with a sword, a trident, the wheel and a jewel in her hands. She is flanke...

Art Nouveau Styled Picture Frame Signed made in Mexico 9.5 H x 7 W Pewter with patinated colors. Vintage condition with some restoration. New glass and back support Refer to images p...

This beautiful modernist silver plate decorative box was crafted in France for the renowned Christian Dior House for his Home Collection. The piece features an elegant minimalist round shape with a lid ornate and a large quartz stone...

Late 19th century pair of the "Queen of Diamonds" brass candlesticks. Tall with diamond motif & push-rods intact (one button end lacking). Part of the series started with Queen Victo...

Pair of Extra Large Brass Deer by Sarreid, Spain 1970s

Antique "Vaclaw Bernard Szczeblewski" French Bronze of Boy "The Whistler". Circa Late 19th Century. Measurements: 16" H x 6" W x 5 1/2" D.

A piece of Southern California glamorous history, this vintage handmade Moire Glaze Kyes tray is composed of hammered metal with an enamel finish and double ...

A palatial french ormolu-mounted Sevres Porcelain hand-painted vase and cover, circa 1838. This monumental Sevres porcelain vase stands 56" high, and is beautifully hand-painted with classical scenes of lovers and cupids, in teal / turquoise blue ground porcelain. Made with very fine quality figural bronze handle, the vase turns to a full 360 degree angle and is mounted on a solid bronze base with fine detail. Painted with beautiful flowers throughout the entire vase, leading up to the cover, which is adorned with an acorn bronze...

An Arts and Crafts Glasgow School Patinated Brass Clock with Mother-Of-Pearl Inlaid Square Details and whiplash handles to the sides.

Monumental! Brutalist Hand-Gilded Direct Metal Horse Sculpture 33" Wide 17" Tall Perfect for a centerpiece or on a credenza! This magnificent horse sculpture captures a horse ...

Beautiful and special set of silver plate tray with three crystal glass bottle decanters . Two bottles provides with resin made top and splendid cameo in the Center , all bottles hav...